By Mario Aquilina (auth.)
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Extra info for The Event of Style in Literature
Sample text
Style, understood in terms of normative or generic requirements, that is, as formal elements or ‘modes’ that bring together different works of art, would be part of that which contributes to the word becoming ‘more saying’ and to presence increasing ‘in being’ (OTW 152) only to then be erased, precisely, to let-be this same being. It is a similar attachment to truth as aleˉtheia that Derrida critiques in his reading of Heidegger. 87 As Derrida shows through Stéphane Mallarmé’s Mimique, literature performs a structure of mimetic play that does not really capture anything present.
89 For Blanchot, art is a limit-experience, outside culture, outside history and never simply reducible to meaning. Blanchot’s correlation with Heidegger but also their differences are Traditional Theories of Style 33 perhaps nowhere as clear as in their common interest in G. W. F. 90 As Leslie Hill argues, while Heidegger interprets the end of art as a lamentable ‘exteriority to world, work, or truth’, Blanchot sees it as a ‘chance for art’. While Heidegger sees modernity as being unable to heed the truth of art and thus seeks to think truth as ale¯theia, Blanchot speaks of art’s radical ‘refusal’ to enter in a relation with truth as the absence from which art, paradoxically, arises.
F. 37 Thomas Sprat’s The History of the Royal Society of London for the Improving of Natural Knowledge (1667) embodies this new stance. 38 Intriguingly, Sprat formulates this critique – primarily directed at the artificiality of their language – through an elaborate simile. 41 What Sprat calls the ‘Ornaments of speaking’ have ‘degenerated from their original usefulness’: They make the Fancy disgust the best things, if they come sound, and unadorn’d: they are in open defiance against Reason; professing, not to hold much correspondence with that; but with its Slaves, the Passions: they give the mind a motion too changeable, and bewitching, to consist with right practice.
